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Church of St. Ignatius Loyola
980 Park Avenue at 84th Street, New York City
OLIVIER LATRY
ORGAN __________________________ Please turn off all cellular phones, wristwatch alarms, and beepers. Taking photographs and making recordings of this concert are strictly prohibited.Wednesday, April 15, 2009 · 7:30 PM
Prelude and Fugue in E-?at Major, Op. 99, No. 3 Camille Saint-Saëns (1835-1921) Choral No. 2 in B minor César Franck (1822-1890) Symphonie Gothique, Op. 70 Charles-Marie Widor (1844-1937)Andante sostenuto
Symphonie No. 1, Op. 14 Louis Vierne (1870-1937)Allegro vivace
FinalINTERMISSION
Deuxième Fantaisie Jehan Alain (1911-1940)Salve Regina
(U.S. Premiere) Olivier Latry (b. 1962)Gregory Purnhagen, baritone
?is recital is made possible in part by generous support from the New York City Chapter of the American Guild of Organists.· Notes on the Program ·
Camille Saint-Saëns (1835-1921) was born and raised in Paris by his mother and great-aunt who provided him
his ?rst keyboard instruction at the piano. Considered a child prodigy, he began studies in organ, composition
and orchestration at the Paris Conservatoire in 1848. Appointed as organist to l"Eglise de la Madeleine in 1857,
Franz Liszt apparently heard him improvise there and proclaimed him to be the greatest organist in the world.
Indeed, among the most beloved and well-known symphonic works is his ?ird "Organ" Symphony, with itsfamed C major chord resonating as the most glorious moment shared by organ and orchestra in the entire
repertory. His Prelude and Fugue in E-?at major is the third of Op. 99 dedicated to an organist who held the
post of professor at the Paris Conservatoire: the ?rst Prelude and Fugue is dedicated to Charles-Marie Widor,
the second to Alexandre Guilmant, and the third to Eugène Gigout. ?e Prelude is a toccata with sparkling
thirty-second notes in the manuals constantly moving over a slow melody in the pedal. Saint-Saëns" priority of
writing beautiful melodic lines is immediately apparent in the fugue theme; the piece builds in intensity and
fervor until the right hand announces the theme in triumphant octaves towards the end.César Franck (1822-1890) rose gradually to become one of the leading ?gures in French music in the latter
half of the 19th century, helping to found the French Romantic school of organ playing and improvisation. His
legacy was broad, counting among his composition pupils those who would become leading ?gures in both the
sacred (Vierne, Tournemire) and secular worlds (Dukas, Chausson). Franck"s ?nest work as a composer, much
like Brahms, occurred when he struck the balance between feeling and form. Speci?cally, this meant ?ltering
the pervasive harmonic innovations of late Romanticism (particularly as expressed by Wagner) through more
classical forms and techniques, such as Bach and Beethoven might have used.?e Trois Chorales for organ, written in the last year of his life, exemplify the best of Franck"s writing, all mak-
ing use of a sort of cyclic form that Franck became closely identi?ed with. ?e Choral No. 2 in B minor is in
three larger parts: a passacaglia that belies Franck"s debt to Bach, a declamatory middle section, and a reprise
of the passacaglia, this time incorporating elements from the middle section. ?e piece draws to a serene close
with the voix humaine reed stop, evidence of the in?uence on St. Ignatius" Mander organ of the 19th-century
organ builder Cavaillé-Coll. Charles-Marie Widor"s (1844-1937) ninth symphony for organ: Symphonie Gothique from 1895, like histenth Symphonie Romane from 1900, steers in a di?erent direction than the previous eight symphonies which
served to champion the organ as a concert instrument for the secular public. Both the ninth and tenth sym-
phonies are based on plainchant themes - the Gothique on the Introit for Christmas day, Puer natus est nobis,
and the Romane on the Gradual for Easter day, Haec dies. ?us Widor"s gi?s as liturgical improviser inspire
these particular symphonies both in spirit and in ?uid presentation of the sacred themes. Symphonie Gothique
is dedicated to St. Ouen and inspired by the magni?cent gothic Cathedral of St. Ouen in Rouen. ?e lyri-
cally intimate second movement, Andante sostenuto, features the Flûte harmonique stop which sings over an
undulating accompaniment.At the time of composing his First Symphony for Organ (1895-1899), Louis Vierne (1870-1937) was Charles-
Marie Widor"s assistant at Saint Sulpice. As Widor before him, Vierne could not help but be inspired by the
Cavaillé-Coll organ, then the largest organ in France, and one of the organ builder"s most ambitious projects.
Maurice Duru?é wrote of Vierne"s Symphony: "By the nobility and grandeur of his style, the balance and so-
lidity of construction, and the rich polyphony of his writing, Louis Vierne asserts himself without a doubt as
the inheritor of the aesthetic of his maître Widor. However, on his part, he adds to it a thematic inventiveness,
a depth of thought, a lyricism, a very personal emotion derived instead from César Franck..." ?e Final is one
of the most famous pieces of Vierne"s, if not of the whole organ literature.Jehan Alain (1911-1940) combined an instinctive musicianship with a thorough grounding in counterpoint
and organ. His training began at the hands of his father, and continued at the Paris Conservatoire, where he
studied with Dukas and Dupré, receiving four premiers prix. His compositional in?uences were wide-ranging:
the suppleness of Gregorian chant, the rhythmic ambiguity of jazz, the exotic tonalities and rhythms of Moroc-
can and Indian music, and the clarity of the early French masters all attracted his attention.In his Deuxième Fantaisie (1936), in?uenced by a Moroccan snake-charmers" melody as well as plainchant,
Alain evokes the nearly un-notatable rhythms of primitive music, but sets them within a polished tripartate
structure. In an early sketch, he referred to "harmonies like charcoal, awaiting the wind which will blow the
?ames dancing up..." Notes by Cleveland Kersh and Renée Anne LoupretteSalve Regina for organ and voice is based on an improvisation I played at Lawrence University, Kansas, in April
1999. ?e actual project, however, originated much earlier, for it was inspired to me by what is commonly
called 'the great Salve", which I learned and sang as a child. Father Jacques Wiel, then in charge of Saint Michel
church in Boulogne sur Mer (where I received a religious education and started playing the organ), had set up
a children"s choir and taught us Gregorian chant. Among other things, we sang a particular anthem which he
explained to us, drawing parallels between the melisma and the spiritual meaning of the piece. ?is great man
of faith was a fantastic teacher who knew how to pass on his passion for this repertoire to us - an unforgettable
experience for an 8-yr old child.?e overall responsorial structure alternates each anthem phrase and its organ paraphrase. But whereas the vocal
sections are of more or less equal duration, the organ 'comments" vary all the time, following the progressive
interiorization of prayer as it becomes a place of refuge for the soul - an e?ect reinforced by the litany-type
structure of most verses.?e language is deliberately tonal to let the various elements of the Gregorian melody fully express the symbolism
of the words. ?e 'a?ect" thus has a global impact on the verses, making for extremely contracted atmospheres,
but it also a?ects the generative ideas, all born out of the particular music of a word - or group of words: 'Salve
Regína" (verse 1), 'et spes nóstra" (verse 2), 'Ad te suspirámus" but also the 'valley of tears" (verse 4), 'misericórdes"
and 'ad nos convérte" (verse 5)... ?e same principle goes for associating melodic elements, as in superposing 'Ad
te", 'clamámus" and 'éxsules ?lii Hévae" (verse 3) to evoke utter distress and passionate imploration; in parallel,
the long simultaneous crescendo on 'Jesum" and '?úctum véntris túi" is a preparation for 'nóbis post hoc exsílium"
which itself climaxes on the heart-rending cry 'osténde". ?en, in most reverent veneration, the ?nal vocal ut-
terance: 'O clémens, O pía, O dúlcis Vírgo María..."All Christians have gone through moments of deep faith, joy, doubt, incomprehension, despair, rebellion, hope,
bliss and beatitude... ?is is what I wanted to express through the melody which has been haunting me for so
many years, its in?uence constantly revived through my duties at Notre Dame cathedral where, every evening
before the closing of the gates, the faithfuls" last prayer is an invocation to the Virgin Mary.Note by Olivier Latry
· Meet the Artist ·
Olivier Latry, titular organist of the Cathedral of Notre-Dame in Paris, is one of the world"s most distinguished organists, not only in France, but in the interna- tional community as well. He was born in Boulogne-sur-Mer, France in 1962, and began his study of piano at the age of 7, and his study of the organ at age 12; he later attended the Academy of Music at St. Maur-des-Fossés, studying organ with Gaston Litaize. From 1981 to 1985 Olivier Latry was titular organist of Meaux Cathedral and at age 23 he won a competition to become one of the three titular organists of the Cathedral of Notre-Dame in Paris. From 1990 to 1995 he taught organ at the Academy of Music at St. Maur-des-Fossés, where he succeeded his teacher, Gaston Litaize. Since 1995 he has taught at the Paris Conservatory, where he has succeeded Michel Chapuis.In addition to concerts and teaching, Mr. Latry has made his mark through recordings on the BNL label in
France, which include music of Bach, the complete organ works of Maurice Duru?é, Louis Vierne"s Sympho-
nies 2 and 3, Widor"s Symphonies 5 and 6, and a recording of works by Litaize. Most recently with Deutsche
Grammophon he has recorded "In Spiritum," devoted to the organ works of César Franck, a recording of
transcriptions for the organ entitled "Midnight at Notre-Dame," and the complete organ works of Olivier
Messiaen. He has also co-authored a book on Messiaen: L"oeuvre d"orgue Olivier Messiaen, Olivier Latry and
Loïc Mallié (Carus-Verlag 2008).
Not wishing to specialize in a particular repertoire, Olivier Latry would like to be an ambassador of seven-
teenth to twenty-?rst century French organ music, hence his equal devotion to the art of improvisation. To-
day he is counted among the most noted "improvisateurs" in the exceptional French tradition from Charles
Tournemire to Pierre Cochereau. He is the recipient of the 2000 Prix Del Duca (Institut de France - Aca-
démie des Beaux-Arts), the 2006 Honorary Fellowship from the North and Midlands School of Music (UK),
and the 2007 Honorary Fellowship from the Royal College of Organists (UK).Olivier Latry has performed in more than forty countries on ?ve continents, appearing most o?en in the
United States. He made his ?rst American tour during the fall of 1986, and has subsequently made annual
tours to the U. S., playing recitals in major cities coast to coast, as well as in cities throughout Canada. In
addition, he has made special trips to appear for regional and national conventions of the American Guild
of Organists as well as for inaugural recitals of new instruments and for major music festivals and summer
schools (Westminster Choir College, McGill University and the San Anselmo Organ Festival). In 2005 Mr.
Latry played a solo recital at Walt Disney Concert Hall in Los Angeles and opened the new Rieger organ at
Bryn Mawr Presbyterian Church in Pennsylvania. In 2006 he was the featured soloist for the opening of the
new Dobson organ at Verizon Hall in Philadelphia where he performed for three sold out audiences in gala
concerts with the Philadelphia Orchestra under the direction of Christoph Eschenbach.Mr. Latry has a particular interest in contemporary music and has premiered works of Xavier Darasse, Claude
Ballif, ?ierry Pecout, Vincent Paulet, ?ierry Escaich, and Jean-Louis Florentz. In early 2000 he performed
three complete cycles (six recitals each) of the organ music of Olivier Messiaen, at the Cathedral of Notre-
Dame in Paris, at the Church of St. Ignatius Loyola in New York City and at St. Paul"s Cathedral, London.
Olivier Latry and his wife Marie-?erese have three children and live in a little village outside Paris.
Baritone Gregory Purnhagen performs regularly in New York and around the world to critical acclaim: "...
touching and powerful..."(?e New York Times), "winning and communicative..."(?e New Yorker), "...he"s
on his way to becoming a hot commodity...(Backstage), "...a smooth and easy baritone that romantic song-
writers should cherish." (Cabaret Scenes). A singer who enjoys success in many genres, he de?nes the word
"crossover." He has premiered and toured internationally in several projects composed by Philip Glass: La
Belle et la Bete, Monsters of Grace and Galileo Galilei. He has also performed such seminal Glass works as
Einstein on the Beach, Hydrogen Jukebox and Koyaanisqatsi, in addition to song repertoire at Weill Hall and
the Rainey Auditorium at the Metropolitan Museum of Art. Mr Glass has invited him to sing on a program
at the newly opened Downtown music venue, City Winery, this month. As an emerging artist in the cabaret
?eld, he has created several critically acclaimed evenings, the most recent being Babalu-cy!- ?e Art of Desi
Arnaz at the Metropolitan Room in NY, which won a 2008 Back Stage Bistro Award for Best ?eme Showand went on to an O?-Broadway run at the Actor"s Temple ?eatre last fall. He has also appeared in Rendez-
vous- An Evening With Piaf, Brel, Aznvour and Friends (2008 MAC nomination), enjoying runs at Feinstein"s
at Loew"s Regency and Metropolitan Room. In the classical arena, recent projects include the role of Aeneas
in a production of Purcell"s Dido and Aeneas created in collaboration between the Orchestra of St. Luke"s and
the Jody Oberfelder Dance Company; performances with Lane Gi?ord & Co. Additional projects includethe role of Severin in Yoav Gal"s Venus in Furs at the Berkshire Fringe Festival, and Joe in ?e Marilyn Project
at the DUO ?eater. Other roles: Bob in Nicholas Brooke"s Tone Test at the Lincoln Center Festival; Joshua
Crouch in David Lang"s work-in-progress Anatomy ?eater at MassMOCA; roles in operas composed by An- thony Braxton, Fred Ho, Michael Kowalski; and featured work in performance pieces for Meredith Monk,John Kelly and Tom Bogden. He was a soloist in both Sir Jonathan Miller"s staged St. Matthew Passion at
BAM and Richard Westenburg"s traditional presentation at Carnegie Hall and has appeared as a soloist with
the New York Philharmonic, Voices of Ascension, My Lord Chamberlain"s Consort, ?e Desso? Choirs, Pro Arte Singers, and Mark Morris Dance Group. His upcoming appearances will bring him to ?e Warhol Museum with Chatham Baroque and the Czech Republic for Verdi"s Requiem in May. Among his numerouscommercial recordings, he is especially proud to have contributed guest vocals on Bjork"s CD, Medulla.